with Marion Verbruggen, recorder (The Netherlands)
Sunday, January 30, 2005
Program
Georg Philipp Telemann: Suite in A minor, for recorder,
strings and b.c.
Giuseppe Sammartini (1693-1740?):
Concerto in F major for soprano recorder, strings
and basso continuo
Antonio Vivaldi (1678-1741):
Concerto in F major, Op. 10, No. 1 "La Tempesta di Mare",
for recorder, strings and b.c. (RV433)
George Frideric Handel (1685-1759): Sonata in
G minor, Op. 1, No. 2, for recorder and b.c.
Antonio Vivaldi:
Concerto in G minor, Op. 10, No. 2 "La Notte",
for recorder, strings and b.c. (RV439)
About the concert
This concert will present one of the world leading recorder players, Marion Verbruggen, in a concert featuring exuberant music written for recorder, strings and basso continuo. The concert will be preceded by a Recorder Workshop, on Saturday, January 29, 2004. For more information, call toll-free (866) EARLYMUSIC, or locally in Atlanta area (770) 638-7574.
The Dutch recorder player, Marion Verbruggen, is one of the most extraordinary virtuosos of her generation. Famed for her high-spirited, technically dazzling performances, she has earned an international reputation as a master of style on her instrument throughout North America, Europe, Africa, Japan and Australia. Enamored of the recorder from an early age, she studied at the Amsterdam Conservatory and the Royal Conservatory in The Hague with Frans Brüggen. Upon completing her diplomas cum laude, she was invited to join the faculty at the Royal Conservatory. Her prizes include the first International Recorder Competition in Bruges, the Nicolai Prize for the Performances of Contemporary Dutch Music, and the Erwin Bodky Award for Early Music.
As a soloist Marion Verbruggen plays with prestigious ensembles including Musica Antiqua Köln, Akademie für Ancient Musik Berlin, The Amsterdam Baroque Orchestra, Philharmonia Baroque Orchestra, The Orchestra of the Age of Enlightenment and Tafelmusik Orchestra. She performs in chamber music ensembles with other renowned early music artists including harpsichordists Gustav Leonhardt, Bob Van Asperen and Ton Koopman, gambist Wieland Kuijken, baroque cellist Jaap ter Linden, and violinist Lucy van Dael. Her early music festival appearances include Utrecht, Berkeley, Berlin, Boston and Tel Aviv. Marion Verbruggen also plays solo recitals throughout the world.
Marion Verbruggen guest teaches at the Royal Conservatory in The Hague and gives master classes and workshops throughout the world. Her diverse discography includes music ranging from 17 th century Spanish songs and theatre music to her own transcriptions of the J.S. Bach Cello Suites. She has recorded for BMG,
EMI Erato, harmonia mundi usa, Ricercar, Sony, Titanic, and Accent.
Venues:
WORKSHOP:
January 29 (Sat.), 10AM-6PM
Oxford College of Emory University
100 Hamill St
Oxford, Georgia
(click here to download the Application - PDF format)
CONCERT:
January 30 (Sun.), 8PM
Peachtree Christian Church
1580 Peachtree St NE
Atlanta, Georgia
Workshop Participation Fee:
Deadline for application: January 15, 2005
(click here to download the Application - PDF format)
Concert Tickets:
(Friends of New Trinity Baroque, Members of Early Music Network)
NEW TRINITY BAROQUE:
on period instruments
Marion Verbruggen, recorder (The Netherlands)
Daniela Giulia Pierson, baroque violin
William Bauer, baroque violin
Michelle Rush, baroque viola
Christina Babich, baroque 'cello
Martha Bishop, baroque contrabass
Predrag Gosta, harpsichord & chamber organ
Bach to Bach
"Bach to Bach"
(Violin Concertos by J.S. Bach, and Chamber Music
by G.F Handel, H. Purcell, J. Pachelbel and G. Muffat)
with JOHN HOLLOWAY, baroque violin
Saturday, February 26
Program
J. Pachelbel: Canon & Gigue, in D major
G. Muffat: Sonata V, from "Armonico Tributo: (1682)
J.S. Bach: Violin Concerto in A minor
H. Purcell: "Three Upon A Ground"
G.F. Handel: Trio Sonata in B minor, Op. 2, No. 1
J.S. Bach: Violin Concerto in E major
About the concert
One of the most exciting baroque violinists of today, John Holloway, joins New Trinity Baroque in an exclusive concert featuring both of J.S. Bach's great Violin Concertos and a selection of exciting compositions by the composers who worked in the English and German-speaking countries (England, Germany, Austria).
John Holloway is one of the foremost musicians in the field of historically informed performance. From his base in Germany he travels extensively, as player, director and teacher of an ever widening repertoire.
Solo recordings as violinist include two complete versions of Vivaldi's The Four Seasons, L'Estro Armonico and other concertos by Vivaldi, the Brandenburg concertos and the sonatas for violin and keyboard by J. S. Bach, and the complete violin sonatas by Corelli and Handel. His recording of the Mystery Sonatas by Biber won the Gramophone Award for the Baroque Instrumental Recording of 1991.
Read more about JOHN HOLLOWAY.
Venue
Atlanta, St. Bartholomew's Episcopal Church, 8 PM
NEW TRINITY BAROQUE:
on period instruments
John Holloway, violoin soloist & guest director
Daniela Giulia Pierson, baroque violin
William Bauer, baroque violin
Michelle Rush, baroque viola
Christina Babich, baroque 'cello
Martha Bishop, baroque contrabass
Brad Hughley, chamber organ
Predrag Gosta, harpsichord
Play the Concert Commercial Video outside the browser
(Windows Media format, approx. 1.9 MB)
This concert was sponsored by
Giacomo Carissimi: Oratorios "Jephte" & "Jonas"
Giacomo Carissimi:
Oratorios "Jephte" & "Jonas"
Our last concert of the 2004/05 season - New Trinity Baroque celebrates Carissimi's 400th birthday with two great oratorios, together with the Oxford Chorale & roster of international soloists
Saturday, April 23 (8 p.m.)
ST. BARTHOLOMEW'S EPISCOPAL CHURCH
1790 LAVISTA RD, ATLANTA
Program
Giacomo Carissimi (1605-1674):
Oratorio "Jonas," for 8 voices, 2 dessus viols & b.c. Historicus: Cum replete esset Ninive iniquitate
Deus: Surge, surge, Jona
Historicus: Audivit Jonas vocem Domini
Historicus: Et cum processisset in mare
Chorus: Et praeliabantur venti
Chorus: Dii magni! Dii fortes!
Historicus: Jonas autem in interioribus navis
Gubernator Navis: Quid tu sopore deprimeris?
Chorus: Venite, venite, mitamus sortes
Historicus: Miserunt ergo sortem et ecce
Chorus: Indica nobis
Jonas: Hebraeus ego sum
Chorus: Quid faciemus tibi et cessabit
Jonas: Tollite me et mittite in mare!
Chorus: Tulerunt nautae Jonam
Historicus: Et praeparavit Dominus cetum grandem
Jonas: Justus es, Domine
Historicus a 3: Et imperavit Dominus pisci
Historicus: Et crediderunt Ninivitae
Chorus: Peccavimus, Domine peccavimus
Oratorio "Jephte," for 6 voices & b.c.
Historicus: Cum vocasset in proelium
Jephte: Si tradiderit Dominus
Chorus: Transivit ergo Jephte
Historicus a 2: Et clangebant tubae
Basso solo: Fugite, cedite impii
Chorus: Fugite, cedite impii
Historicus: Et percussit Jephte
Historicus a 3: Et ululantes filii Ammon
Historicus: Cum autem victor Jephte
Filia: Incipite in tympanis
a 2: Hymnum cantemus Domino
Filia: Cantate mecum Domino
Chorus: Cantemus omnes Domino
Historicus: Cum vidisset Jephte
Jephte: Heu mihi! filia mea
Filia: Cur ego te pater decepi
Jephte: Aperui os meum ad Dominum
Filia: Pater mi, si voviste votum Domino
Jephte: Quid poterit animam tuam
Filia: Dimitte me
Jephte: Vade filia mea
Historicus a 4: Abiit ergo in montes
Filia / Eccho: Plorate colles
Chorus: Plorate filii Israel
About the concert
New Trinity Baroque, led by Predrag Gosta, will be joined by the Choir of Oxford College celebrating 400th birthday of the great Italian master, Giacomo Carissimi. The program will feature two most famous oratorios by the great composer, which influenced the development of oratorio style in Europe in the centuries to come.
Giacomo Carissimi was born in 1604 at Marino in the Papal States. He is considered to be the most influential and prolific Italian composer of his time. After completing his musical education in Rome, Carissimi became choirmaster at Assisi, and, in 1628, he was appointed to a like position at the church of St. Apollinaris in Rome. He is considered the father of the modern oratorio form, which had its origin in the simple laudi sacri composed by Palestrina and Annimuccia for St. Philip Neri's meetings of young people, held in his oratorio or place of prayer. By imparting a lyric quality to the recitative, lending variety to the orchestral accompaniments, and dramatic movement to the whole, he developed this form to the point where it was taken up and carried to its perfection by Handel and Bach. Although many of Carissimi's oratorios and other works have been lost, the Bibliothèque Nationale in Paris contains the following oratorios in manuscript: "Le mauvais riche", "Jonas". An almost complete collection of the works of this master made by Dr. Henry Aldrich (1647-1710) is found in the library of Christ church College, Oxford. Of Carissimi's settings to liturgical texts two printed collections of motets for two, three, and four voices, and masses for five and nine voices are mentioned. An eight-part "Nisi Dominus" and a "Lauda Sion" in manuscript are preserved in the Santini Library in Rome. Among Carissimi's pupils were Alessandro Scarlatti, J.K. Kerll, Johann Ph. Krieger, Chr. Bernard, and M.A. Charpentier. Carissimi died on the 12th of January, 1674, in Rome.
More information about Carissimi:
Giacomo Carissimi is recorded as a singer at Tivoli in 1623; two years later he was organist there. His first appointment as maestro di cappella came in 1628, at the S. Rufino Cathedral in Assisi. The following year he was callcd on by Bernardino Castorio in Rome to fill the post of maestro at the German College there, a prestigious post in which Victoria and Agazzari had served earlier. Carissimi spent the rest of his life at the college; he was ordained to the priesthood in 1637. His responsibilities included training the choirs and providing liturgical music for the adjoining S. Apollinare chapel. In 1655-56 he was given the title maestro di cappella del concerto di camera by the Queen of Sweden in exile in Rome; also during the 1650s he composed and conducted for the Oratorio del S. Crocifisso. Among his prominent pupils were Marc-Antoine Charpentier, Johann Kaspar Kerll, Christoph Bernhard, and possibly also Johann Philipp Krieger. That he was in a comfortable situation, both financially and professionally, is suggested by his rejection of several opportunities for prestigious employment, including the post at St. Mark's in Venice on Monteverdi 's death in 1643 and the position of maestro for the emperor's son, Leopold Wilhelm of Brussels. Carissimi chose to remain in Rome, and after 44 years of service to the College he died a rich man.
The first major composer of oratorios, Carissimi helped form the modem notion of the genre. He also composed hundreds of motets and cantatas in addition to Masses and other sacred works. Because no autograph manuscripts survive, problems of attribution in his oeuvre are especially difficult, as are problems of genre, especially in distinguishing between motet and oratorio. Among the oratorios are Damnatorum lamentatio (1666), Jephte (before 1650), Jonas, and Judicium Salomonis.
Venue
Atlanta, St. Bartholomew's Episcopal Church, 8 PM
THE OXFORD CHORALE
of Oxford College of Emory University
(Choir Director: Dr. Maria Archetto)
NEW TRINITY BAROQUE:
on period instruments
(Artistic Director: Predrag Gosta)
Vocal Soloists:
Julia Matthews, soprano
Elizabeth Packard Arnold, soprano
Esther Kulp, soprano
Holly McCarren, alto
Magdalena Wor, alto
Kevin Sutton, tenor
Stephen Soph, tenor
Patrick Newell, baritone
Cameron Beauchamp, bass
Instrumental Soloists:
Martha Bishop, viola da gamba
Susan Patterson, viola da gamba
Christina Babich, violoncello
Michael Fields, chitarrone
William Hearn, lute
Brad Hughley, organ
Predrag Gosta, harpsichord
Conducted by
Predrag Gosta
Pergolesi: "La Serva Padrona"
Pergolesi: "La Serva Padrona"
A fully staged performance of "The Maid Mistress"
Saturday, October 23
Program
Oboe Concerto in D minor, Op. 9 No. 2, by Tomaso Albinoni
LA SERVA PADRONA: Intermezzo I
Intermission
Oboe Concerto in D minor, Op. 1, by Allesandro Marcello
LA SERVA PADRONA: Intermezzo II
About the concert
Julia Matthews, soprano, known from New Trinity Baroque's latest CD relase of Purcell's "Dido & Aeneas" (where she sang Belinda) will return as the lead singer for this chamber comic opera (Serpina), as well as the Stage Director. Together with bass Jason Hardy (as Uberto) and Kurt-Alexander Zeller (as Vespone), and accompanied by New Trinity Baroque, they will perform on period instruments, and present the first historically informed performance of Pergolesi's master piece. NTB will also perform two famous concertos, featuring Boston-based oboist, Joyce Alper, for oboe, Albinoni’s Op.9, No. 2 in d minor and Alessandro Marcello’s concerto in d minor, as interludes to the intermezzi.
Pergolesi's chamber opera buffa "The Maid Mistress" (1733) was enjoyed from the first day it was presented in the Theatre in Naples, and through many subsquent generations. The splendid acoustics of St. Bart's will enhance the experience while New Trinity Baroque tries to visually "transform" the space to fit within the lines of the story (stage-wise). This performance is fully staged. Seating is limited.
The performance will be repeated in Oxford, GA on Monday, October 25.
Venue
Atlanta, St. Bartholomew's Episcopal Church, 8 PM
NEW TRINITY BAROQUE:
on period instruments
Julia Matthews, soprano - Serpina
Jason Hardy, bass - Uberto
Kurt-Alexander Zeller - Vespone
Joyce Alper, baroque oboe
Judson Griffin, baroque violin
William Bauer, baroque violin
Randy Hirsch, baroque viola
Martha Bishop, baroque 'cello
William Hearn, chitarrone
Predrag Gosta, harpsichord
Stage Director: Julia Matthews
Music Director: Predrag Gosta
Charpentier: "Messe de Minuit"
Charpentier:
"Messe de Minuit"
The 300th Anniversary of Marc-Antoine
Charpentier and Georg Muffat
with the CANTERBURY CHOIR of
St. Bartholomew's Episcopal Church, and
Brad Hughley, organ (Great "Rosales" Organ)
Saturday, December 18
Program
Church Bells (Introit)
Sonata No. 2 in G minor, from "Armonico Tributo" (1682) by Georg Muffat (1653-1704):
I. Sonata: Grave - Allegro
II. Grave
III. Forte e allegro
IV. Aria
V. Grave
VI. Sarabanda
VII. Grave,
VIII. Borea. Alla breve
Messe de Minuit a 4 voix, flutes et violons pour Noël (c.1690), H9, by M arc-Antoine Charpentier (1634-1704):
Hodie Christus natus est (Gregorian Chant)
Kyrie
Christe
Gloria
Nuit, from "In Nativitatem Domini Canticum," H416
Credo
Offertoire sur les grands jeux, from "Messe pour les Convents de Religieux et Religieuses" (1690) by François Couperin
Laissez paitre vos betes, No ë l sur instruments, H531/2
Sanctus. Benedictus
Elevation: Tierce en Taille, from "Messe pour les Convents de Religieux et Religieuses" by F. Couperin
Agnus Dei
About the concert
This concert is a joint collaboration between New Trinity Baroque and St. Bartholomew's Episcopal Church.
Marc-Antoine Charpentier was one of the most outstanding musicians in late seventeenth-century France. As a young man he had spent three years in Rome studying with one of the leading Italian composers of the day, Giacomo Carissimi, with whom he acquired valuable first-hand experience of opera and oratorio - both relatively new forms at that time. On returning to his native Paris he put these skills to effective use, composing a number of operas and bringing the dramatic oratorio to France for the first time.
Charpentier’s output of sacred music was prodigious, comprising some thirty-five oratorios, eleven settings of the Mass, over two hundred motets and the well-known Te Deum, the overture of which is used as the signature tune for the Eurovision Song Contest. (It is rather ironic that the music of a composer who faced a continual struggle to achieve recognition during his lifetime should now be familiar to millions of people right across Europe!)
Charpentier was particularly drawn to writing Christmas music, producing instrumental carols, Latin oratorios on Christmas themes, French pastorales and a Christmas mass - the delightful Messe de Minuit pour Noël. This piece dates from around 1690 and was probably composed for the great Jesuit church of St. Louis in Paris, where Charpentier held the important post of maître de musique .
The use of popular carols in church music had long been an accepted practice. In England carols were more often sung than played, but in France noëls figured prominently in the substantial French organ repertoire. The liturgy of Midnight Mass permitted the singing and playing of these Christmas folksongs, and by Charpentier’s time quite complex instrumental arrangements were commonplace. However, Charpentier’s idea of basing a whole mass on these songs was completely original. Altogether there are eleven noëls, most of which are dance-like in character, reflecting the carol’s secular origins. In addition to the carol melodies that he adapted to fit various parts of the mass text, Charpentier also composed new material, such as the slow sections ‘Et in terra pax’ at the beginning of the Gloria and ‘Et incarnatus est’ in the Credo. It says much for the composer’s craftsmanship that these quite different idioms are so seamlessly and convincingly blended together.
Very little of Charpentier’s music was published during his lifetime. In common with a number of his colleagues he suffered greatly from the stranglehold exerted on Parisian music by his illustrious but unscrupulous contemporary, Jean-Baptiste Lully. Only in the late twentieth century has Charpentier’s music seen a substantial revival, with a consequent re-assessment of his true place in French music.
John Bawden, Musical Director,
Fareham Philharmonic Choir (used with permission)
Venue
Atlanta, St. Bartholomew's Episcopal Church, 8 PM
Soloists
Elizabeth Packard Arnold, soprano
Magdalena Wór, mezzo-soprano
Brent Runnels, tenor
Patrick Newell, bass
THE CANTERBURY CHOIR
of St. Bartholomew's Episcopal Church
( Brad Hughley, choir master)
NEW TRINITY BAROQUE:
on period instruments
Jody Miller, flute (recorder)
Jonathan DeLoach, flute (recorder)
Mirna Ogrizovic, dessus de violon
Ute Marks, haute contre de violon
Sinisa Ciric, taille de violon
Patricia Vas Dias, taille de violon
Martha Bishop, basse de violon
William Hearn, theorbe
Brad Hughley, organ (great 'Rosales' organ
of St. Bartholomew's Episcopal Church)
Predrag Gosta, clavecin & direction
Pitch (Kammerton): a'=392Hz
Handel Organ Concertos
Handel Organ Concertos
First anniversary of the Inauguration
of St. Bartholomew's new Rosales Organ
with BRAD HUGHLEY, organ
Saturday, September 11
Program
Concerto in D minor, Op. 7, No. 4
Concerto in G minor, Op. 7, No. 5
Concerto in F major, without opus number (HWV 295),
As a part of Emory Concert Choir's final concert of the 2004/05 Academic Year, New Trinity Baroque will join in recreation of one of Vivaldi's most glorious vocal-instrumental pieces - "Gloria", for choir, soloists, trumpet, oboe, strings and continuo.
Venue
Atlanta, Schwartz Center, Emory University (Saturday, 8 PM)
Oxford, Oxford College of Emory University (Sunday, 8 PM)
